Peter Conrad
Sunday November 11, 2007
The Observer
Classical music, supposedly the purest of the arts, has always been a bit of a floozy. It intones Hallelujah choruses of praise to God, but is just as happy to supply Falstaff with a belchy drinking song. Throughout its history, it has been busily working as a pandar, facilitating seduction and extolling the delights of carnal gratification. Wagner composed an orgasm at the end of Tristan und Isolde (a climax complicated by the fact that one of the partners has just died). Strauss energetically orchestrated coitus in Der Rosenkavalier and Arabella
Classical music, supposedly the purest of the arts, has always been a bit of a floozy. It intones Hallelujah choruses of praise to God, but is just as happy to supply Falstaff with a belchy drinking song. Throughout its history, it has been busily working as a pandar, facilitating seduction and extolling the delights of carnal gratification. Wagner composed an orgasm at the end of Tristan und Isolde (a climax complicated by the fact that one of the partners has just died). Strauss energetically orchestrated coitus in Der Rosenkavalier and Arabella
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